Sumotherhood
PARAMOUNTAdam Deacon’s Sumotherhood feels a two fold reaction to, firstly, the influx of harsh and violent rhetoric on London gang media of late in Blue Story and Top Boy with a more comedic sensibility, as well as a secondary more personal comment from Deacon himself upon his detractors: namely one time friend and influence in the controversial Noel Clarke.
First and foremost, the clearest indication of a very different tone is apparent from the start. A more comedic nature – albeit showcasing a similar type of thematic to its ilk – which undeniably feels like a retort to the aforementioned gang land second wind that has grown in immense popularity and mass controversy in the likes of Blue Story which took the linage of Clarke’s influential Kidulthood and Adulthood – also starring Deacon – which have ultimately defined a generation of viewers in a certain social and political representation. Deacon is seemingly retorting to this recent influx like he did with his directorial debut Anuvahood by taking the thematic but twisting the tone. To be fair to Deacon, it is a hard tight rope to walk with not wanting to water down the violence or showcase a terrible and horrifying lifestyle without the reality. Again, it’s a tricky line and while it’s still blurry, it never overly states in rewarding violence but equally does not damn them either. Granted, it’s highly doubtful viewers are going into this for the subconscious underbelly of societal politics but with the tone being more accessible and lighthearted it feels as good as ever to predispose to a certain demographic regarding its context.
That being said, the thematic is hardly the trouble here, but what stagnates and self-indulgences to a point of oblivion is that of its comedic nature. Deacon’s film suffers from a severe lack of subtlety and gross self-indulgence in both characters and scenarios. Feeling in the same frame work as a ninety minute sketch show with a gargantuan amount of side characters and side story arcs that weave in and out of the central plot, which is arguably only seventy minutes long it’s own right. It not only affects immersion but equally the pacing with such a stop and start running time. It drops in and out of immersion with certain notable cameos from Ed Sheeran, one that works within the rhythm, and one from former Labour leader Jeremy Corybyn, yet others like Jennifer Saunders, Lethal Bizzle and Denise Van Outen feeling unnecessary.
All in all, Sumotherhood suffices as basic entertainment and for those who want a very rudimentary comedic experience. More than that, it should stand as quite a moment for Deacon himself who in the public eye has had quite a rough ride – with public spats and grappling with a a bi-polar diagnoses – going back to the arts to find sanctuary is a terrific testament to his character.
